Mahler: Symphony No. 8 in E flat major 'Symphony of a Thousand'

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Mahler: Symphony No. 8 in E flat major 'Symphony of a Thousand'

Viktoria Yastrebova, Ailish Tynan, Ludmila Dudinova (sopranos), Lilli Paasikivi, Zlata Bulycheva (mezzo-sopranos), Alexey Markov (baritone), Sergey Semishkur (tenor) & Evgeny Nikitin (bass)

Choir of Eltham College, Choral Arts Society of Washington, London Symphony Chorus & London Symphony...

As a concert venue St Paul's Cathedral's problems remain acute: chief culprit is the building's notorious nine-second reverberation period which gives climaxes earth-shattering power but reduces... — Gramophone Classical Music Guide, 2010 More…

Release Date: 30th Mar 2009
Catalogue No: LSO0669
Label: LSO Live
Series: Gergiev Mahler Symphonies
Length: 77 minutes

Work length1:17:16

$20.00

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Valéry Gergiev, London Symphony Orchestra, Viktoria Yastrebova, Alexey Markov, Evgeny Nikitin, Liudmila Dudinova, Ailish Tynan, Lilli Paasikivi, Zlata Bulycheva, Sergey Semishkur

Part I - I. Veni, Creator Spiritus

Track length1:27

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Part I - II. Imple Superna Gratia

Track length3:55

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Part I - III. Infirma Nostri Corporis

Track length6:12

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Part I - IV. Accende Lumen Sensibus

Track length4:44

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Part I - V. Veni, Creator Spiritus

Track length3:47

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Part I - VI. Gloria Patri Domino

Track length2:52

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Part II - I. Poco Adagio

Track length12:30

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Part II - II. Ewiger Wonnerbrand

Track length1:34

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Part II - III. Wie Felsenabgrund Mir Zu Füßen

Track length4:30

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Part II - IV. Gerettet Ist Das Edle Glied

Track length3:08

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Part II - V. Uns Bleibt Ein Erdenrest

Track length2:48

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Part II - VI. Höchste Herrscherin Der Welt!

Track length4:02

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Part II - VII. Dir, Der Unberührbaren

Track length3:37

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Part II - VIII. Bei Der Liebe, Die Den Füßen

Track length5:01

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Part II - IX. Neige, Neige, Du Ohnegleiche

Track length4:12

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Part II - X. Komm! Hebe Dich Zu Höhern Sphären!

Track length1:10

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Part II - XI. Blikket Auf

Track length6:16

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Part II - XII. Alles Vergängliche

Track length5:31

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About
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CONCERT REVIEW:

"two performances bringing Gergiev's Mahler cycle to a triumphant close. Gergiev caught the crucial moment of expectation to perfection. But in the end it was the shattering power of several hundred voices, an expanded orchestra and full cathedral organ that delivered the mightiest of Mahler's symphonies with the sonic splendour it demands." London Evening Standard

Artists

Viktoria Yastrebova, Ailish Tynan, Ludmila Dudinova (sopranos), Lilli Paasikivi, Zlata Bulycheva (mezzo-sopranos), Alexey Markov (baritone), Sergey Semishkur (tenor) & Evgeny Nikitin (bass)

Choir of Eltham College, Choral Arts Society of Washington, London Symphony Chorus & London Symphony Orchestra, Valery Gergiev

Reviews

2010

As a concert venue St Paul's Cathedral's problems remain acute: chief culprit is the building's notorious nine-second reverberation period which gives climaxes earth-shattering power but reduces inner detail to mush.
In these circumstances the conductor's role is mainly one of damage limitation. Not that Gergiev chooses sluggish tempi to palliate the acoustics. Indeed he tends to plough on as precipitately as ever at section ends. Not for him the grand but apocryphal slowing into the first movement recapitulation as favoured by Bern- stein et al. Some exaggerated enunciation by the far-flung choral groups is presumably designed to maximise audibility. Meanwhile most of the soloists proffer Mariinsky German in vaguely Verdian style and the ladies aren't always in tune. James Mallinson and his sound team do their best with the microphones, ensuring that unique moments such as the stratospheric apparition of the Mater Gloriosa are captured for posterity. There's a more than usually sweettoned sentimentality about much of Part 2.
Belying the thrills and spills of an event in which many of the performers will have been unable to hear each other or catch much more than a glimpse of their maestro, the final Chorus Mysticus brings a real sense of gravitas and uplift. The massed voices are wonderfully hushed at the start even if the offstage trumpets register less impressively at the close (everyone sounds offstage at St Paul's). Whether this is a tribute to Gergiev's sense of the dramatic, the professionalism of his assembled artistes or sheer good luck is difficult to tell.
Shorn of applause, the reading is neatly accommodated on a single hybrid SACD and makes an appropriately idiosyncratic climax to a controversial cycle. The packaging, quite sumptuous for a bargain issue, has full texts and translations.

2010

at once the most ambitious and the most impressive in Gergiev's variable Mahler series...The atmosphere of a great occasion is caught admirably, with the timpani and organ very impressive...A most competitive version.

Mahler: Symphony No. 8 in E flat major 'Symphony of a Thousand'

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